Marked by its vast economic and technological growth, the 19th century is also known for its many narrow views towards women, demanding ideals that separate the sexes; increase boundaries and expectations and limit action. By analyzing Elizabeth Gaskell's Mary Barton, William Makepeace Thackeray's Vanity Fair, and Honoré de Balzac's La Cousine Bette, modern readers can better understand the role of women in the 19th century - particularly within the confines of the years 1846 to 1848 - as well as drawing parallels between each novel through the juxtapositions of their respective protagonists – Mary Barton, Becky Sharp, Amelia Sedley and Lisbeth Fischer – with their choices supporting or challenging the status quo of the time. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Additionally, by examining these characters and the themes of their respective novels in relation to their publication date, readers can ascertain the prevailing message throughout the time period that characters who abide by the rules of Victorian society receive rewards, while those who they do not face certain consequences. Gaskell's Mary Barton introduces the titular protagonist who bears the burden of her father's survival and the conflicting affections she feels for Harry Carson and Jem Wilson, men above and below her station respectively. Although Mary ultimately plays a critical role in proving his innocence, she grapples with what is expected of her and what she expects of herself. Because she is working class, she has some agency by choosing to work outside a factory, a decision that introduces her to Harry. By entertaining her courtship, Mary continues to act against the marriage quo above herself so that she can climb the social ladder and even save her father from himself. However he soon resolves his feelings for his childhood friend, Jem Wilson. Carson is not the man who holds Mary's heart. However, due to her digression, Jem is implicated in Carson's murder and Mary must intervene. It is through this pursuit that Maria is able to “[create] her own opportunities…and economic and personal independence” (Brown 355). Mary must then reaffirm her alignment with the prescribed ideals of the Victorian era when she returns and saves Jem from unjust consequences for the murder he didn't commit so she can validate her worthiness to the marriage that all Victorian women are conditioned to desire (Hughes, “Gender Roles in the Nineteenth Century”). It is thanks to Mary's return and the support of her male counterparts that she was granted her happy ending. Similar to Mary, Becky Sharp and Amelia Sedley display moments of conformity and mutiny against their peers and superiors, albeit to varying degrees in Thackeray's Vanity Fair. While Becky plans to increase her position, Amelia chooses to play by the rules due to her family's wealth. Becky and Amelia attend boarding school where they learn various skills to improve their marriage prospects; Becky eventually assumes the position of governess to serve as a teacher of the Victorian mandates for the next generation (and class above her) (Hughes, “Gender Roles in the 19th Century”). However, Thackeray then plays with the role of housekeeper by illustrating Becky's contrarian move when she expresses romantic interest in her employer, so that he can gain the means to advance his social position. In a different way, Amelia spends the novel meeting the needs of her family, her husband George, and her son. Although she is an ideal participant in society.